The Expo Blog is a space for posts on the history, themes, legacies and experience of Expos. It includes articles from the BIE and external contributors.
Austrian-Australian architect, illustrator and set designer Joseph Urban takes the ‘U’ position of Expo Architects for his contribution to World Expo 1933 Chicago. Already known around the world for his vivid creations – including Austria’s pavilion at Expo 1904 St. Louis - Urban created Expo 1933’s dazzling exterior colour scheme and devised its lighting strategy, an essential aspect of the Art Deco style that was the hallmark of the event.
Kenzō Tange, one of Japan’s leading architects of the 20th century, occupies the T position in the A to Z of Expo Architects. Known for combining Japanese traditions and Western influences in his celebrated urban projects, the Pritzker laureate was the main planner for World Expo 1970 Osaka and designed the Expo’s mammoth Festival Plaza.
Israeli-Canadian architect, urban planner and author Moshe Safdie is in the spotlight for this week’s instalment of the A to Z of Expo Architects for designing the Habitat 67 urban residential complex for World Expo 1967 Montreal.
German architect Ludwig Mies van der Rohe stands out for defining his own architectural style that, combining clarity and simplicity, reshaped 21st century styles. As a pioneer of modern architecture, the last director of the Bauhaus school takes the R spot in the A to Z series for creating Germany’s remarkable pavilion at World Expo 1929 Barcelona.
Italian urbanist and architect Ludovico Quaroni takes this week’s spot on the list of Expo Architects for his contribution to Italy’s pavilion at World Expo 1958 Brussels.
Known for his use of vernacular models in urban projects and a preference for traditional designs over monumental architecture, Quaroni was one of nine architects who contested the Italian Government’s competition to showcase a modern and resurging Italy at Expo 1958. The group of architects instead came together to create a resolutely anti-modernist project, demonstrating an act of insubordination while reflecting the tense climate that dominated architectural debate in the post-war era.